本文以張欣芸〈尤瑪・達陸的織夢人生〉和里慕伊・阿紀〈Kneril Tayal balay 泰雅真女人〉為研究文本，分析其敘述手法與寫作策略。〈尤瑪・達陸的織夢人生〉以第三人稱的視角聚焦尤瑪・達陸對於泰雅族傳統織布技藝的堅持。〈泰雅真女人〉採用散點的敘事法，以第一人稱報導泰雅族婦女們的生命故事。〈泰雅真女人〉中尤瑪・達陸報導只出現文本開始與文末，似乎對於尤瑪・達陸報導隱而不顯，透過野桐工作坊成員的案例與小型敘事，烘托出尤瑪・達陸的堅毅精神與執行力量。筆者以為〈尤瑪・達陸的織夢人生〉主要探討尤瑪・達陸如何重返部落，如何振興傳統泰雅織布技藝的嚴肅議題；〈泰雅真女人〉背後探討生命多舛的原住民婦女如何透過編織凝聚向心力與尋求身心靈的庇護，兩篇敘事手法雖有差異，但也開展出報導文學不一樣的寫作策略。 This paper aims at analyzing the narrative techniques and writing strategies adopted by authors Hsin-Yun Chang （張欣芸） and Rimuy Aki （里慕伊•阿紀） in their works “Yuma Taru's Dream-Woven Life”（〈尤瑪·達陸的織夢人生〉）and “Kneril Tayal Balay – Real Atayal Woman”（〈Kneril Tayal Balay 泰雅真女人〉） respectively. Written in the third-person perspective, “Yuma Taru's Dream-Woven Life” throws a spotlight on Yuma Taru's dedication to the traditional art of Atayal cloth-weaving. In “Kneril Tayal Balay – Real Atayal Women”, Rimuy Aki adopts a scattered narrative strategy, opting to tell the life stories of Atayal women from the first-person perspective. Narrative accounts about Yuma Taru only appear at the start and end of “Kneril Tayal Balay – Real Atayal Woman,” seemingly relegating her to the sidelines; however, through the real-life case studies and little narratives of the members of Atayal cloth-weaving workshop Lihang Studio, Yuma Taru's tenacious spirit and ability to execute her vision are thrown into sharp relief. This paper argues that “Yuma Taru's Dream-Woven Life” mainly discusses Yuma Taru's return to her tribe, as well as the sobering issue of reviving the traditional art of Atayal cloth-weaving. On the other hand, “Kneril Tayal Balay – Real Atayal Woman” examines how the practice of cloth-weaving can bring together Atayal women, and grant them physical refuge and emotional solace in the face of the many adversities that they often encounter in life. Dissimilar in terms of their narrative techniques, these two works also shine a light on how writing strategies can differ in the genre of literary reportage.
